Reviews of shows on view in New York, by Lynda Benglis, Heather Guertin, Jessica Stockholder, Kenji Fujita, and more

Model turns comedian turns painter.
No dress rehearsal, no IOU, these eyes and ears and mouths speak, as if to say, Thank You (Falettinme Be Mice Elf Agin).
Self aside, the works love to be loved, single circles long to be paired, finding themselves when they find each other, two per canvas as they are in the second gallery.

A work by Kenji Fujita at Soloway.

ZAK KITNICK

KENJI FUJITAWill and Weather@ Soloway

Fujita makes material before he makes anything.
A pile of pink painted plywood bricks sit in the studio for a decade before they are approached again, this time as found objects.
Fujita’s aptly titled “Accumulation” sculptures are accumulations of time, with an incredible tactile intelligence; they are as much ‘Studies for an Object’ as objects to study.
Like the record of a meandering chess game, the work retains the memory of each move.

Installation view of Lynda Benglis’s solo show at Cheim & Read, 2016.

COURTESY CHEIM & READ

LYNDA BENGLISNew Work@ Cheim & Read

Back to basics: chicken wire skeletons with handmade paper and glitter skins frame out arms or legs or butts or guts.
The works conjure a more corporal Ree Morton both in their material and their scattershot installation.
So good it hurts your heart.

Installation view of “Labor Work Action” at New Release, 2016.

COURTESY NEW RELEASE

LABOR WORK ACTION
Curated by Silke Lindner Sutti@ New Release

The premise for the exhibition is Hannah Arendt’s 1958 The Human Condition.
In Anne Libby’s work, the ridged American forms of Robert Morris or Richard Artschwager appear to melt and drip into the curves and contours of Antoni Gaudí or Salvator Dalí.
Held up by flannel-covered copper pipes, these wilting forms invoke biology far more intensely than the series of painted MDF and mirrored bodies nearby.

Installation view of “Jessica Stockholder: The Guests All Crowded Into the Dining Room” at Mitchell-Innes & Nash.

Bolted squarely to the floor with four bolts, some works stand up on their own very well.
Two of Stockholder’s “Assist” works can’t stand at all without the help of a chair (not included).
A walk up an irregular wooden mezzanine is amply rewarded with a perfect little sculpture, ice cube trays, seashells, and all.

Kyle Thurman, matches, 2016, cast glass and nail, 2 x 16 x 16 inches.

COURTESY THE ARTIST AND OFF VENDOME

KYLE THURMANA Lonely Butcher@ Off Vendome

A blue etched glass heart based on an antique Tramp Art frame looks like it fits two iPhones, a possible allusion to online dating apps, while a carpeted stage structure obscures and articulates the space as if to translate the wall-based diagrams into real life.
Whether in the blank space of the frame or the outlines of figures, Thurman inserts himself, but like half a broken-heart pendant, leaves space for you.
Beyond wearing his heart on his sleeve, Thurman exposes himself.

A haunting show.
A print of a Google search: “90% of killers are male” and a picture of a banner made the morning after the Orlando shootings.
A checklist covering the back of the press release could be answered, “All of the above,” and in terms of PIES—Political, Intellectual, Economic, and Social—the show leaves no box unchecked.